In The Mirror, the Window, and the Telescope, Samuel Y. Edgerton
brings fresh insight to a subject of perennial interest to the
history of art and science in the West: the birth of linear
perspective. Edgerton retells the fascinating story of how
perspective emerged in early fifteenth-century Florence, growing
out of an artistic and religious context in which devout Christians
longed for divine presence in their daily lives. And yet,
ironically, its discovery would have a profound effect not only on
the history of art but on the history of science and technology,
ultimately undermining the very medieval Christian cosmic view that
gave rise to it in the first place.
Among Edgerton's cast of characters is Filippo Brunelleschi, who
first demonstrated how a familiar object could be painted in a
picture exactly as it appeared in a mirror reflection. Brunelleschi
communicated the principles of this new perspective to his artist
friends Donatello, Masaccio, Masolino, and Fra Angelico. But it was
the humanist scholar Leon Battista Alberti who codified
Brunelleschi's perspective rules into a simple formula that even
mathematically disadvantaged artists could understand.
By looking through a window the geometric beauties of this world
were revealed without the theological implications of a mirror
reflection. Alberti's treatise, "On Painting," spread the new
concept throughout Italy and transalpine Europe, even influencing
later scientists including Galileo Galilei. In fact, it was
Galileo's telescope, called at the time a "perspective tube," that
revealed the earth to be not a mirror reflection of the heavens, as
Brunelleschi had advocated, but just the other way around. Building
on the knowledge he has accumulated over his distinguished career,
Edgerton has written the definitive, up-to-date work on linear
perspective, showing how this simple artistic tool did indeed
change our present vision of the universe.
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